In de expositie ‘Matter in Transit’ zijn zes kunstenaars bij elkaar gebracht, die zich allen bezighouden met schilderkunst. Ook hier zien we uitingen die de schilderkunst meer wil laten zijn dan wat het oorspronkelijk was: verf op doek. Maar niet in een min of meer krampachtige poging de dynamiek van nieuwe media te evenaren. Het is allemaal toch een vorm van ‘slow-art’ gebleven, waarin het procesmatige en onderzoekende in de schilderkust centraal staat.

De expositie werd samengesteld door Tanja Isbarn, die haar contacten op basis van ‘Vice-Versa’ projecten daarbij heeft ingezet.

De volgende kunstenaars nemen aan de expositie deel:

Franziska Goes (Berlin, Germany)

Franziska Goes uses predetermined painterly structures such as a brush stroke or an air brushed field in such a way that the theme of an image defines itself autonomously.

The artist enjoys allowing the various characteristics of paint and brush to collide.

A very conscious application of placing, layering and covering color and form is important to the artist. Phenomena such as edges and left overs are visible through the techniques Goes plays with. These residues become the decisive form of a work. It is a constant process of extinguishing and growing.

In urban surroundings as well as nature man is confronted by superimpositions, coverings, cut-outs, no-man's lands. Roaming about in the various voices of painting opens up possibilities to express Franziska Goes' fascination for human conditions.

The necessity for a future work and the inherent painterly experiment results out of the preceding one.

Rikka Horn (Tallinn/Estonia)

Starting off from where 'she is' Rikka Horn migrates in between the possibilities (life) circumstances have to offer. The routine of a daily order allows the artist to work through an idea with the material as it makes itself felt.

A painterly surface grows by brushing numerous layers of varnish and pigments, sanding down any unevenness. Repeating a movement and by doing so, confronting obstacles, brings the manual activity to the foreground. Echternach's process symbolizes her way: it is always 'three steps forwards and two back'.

Trying to stand as close as possible to her shadow the work can function as some kind of compensation.

Margie Livingston (Vancouver, Washington)

In the past two years the work of Margie Livingston has gone through a transformation from abstract painting to a more experimental approach of using paint in space. As she puts it she has moved 'away from working with the illusion of space towards working with literal space'. Residues from the processes in her studio become artifacts, often in dialog with works of other artists such as Sol leWitt, Carl Andre, and Lynda Benglis. Livingston enjoys playing around with the notion of re-contextualization. By referring to art history she creates a very individual language commenting on the familiar vocabulary of abstract expressionism and all-over compositions. During a studio visit Livingston described her daily work process as feeding and looking after the works.

Most recently the artist has constructed logs of paint by layering more than 32 gallons of paint per piece in a time-consuming pouring process. Paint, as if it were wood, and is milled, cut, and shaped with skills a carpenter would use.

Philip Miner (Anchorage, Alaska)

Philip Miner uses found material from the Internet and other media images for his (paper) collages. Trivialities and the ordinary function as triggers to appropriate languages of cultural signifiers. He depicts impressions generally accepted as meaningful, translating well-known codes into a set of new pictorial messages. The viewer is invited to read painting in the context of deconstruction and visual inquiry.

Miner refers to 'psychology, social commentary and theoretical discourse' when talking about his works as creating the 'potential for slippages' of meaning within the reconsideration of the familiar.

Sophie Schmidt (Fribourg/Germany)

Schmidt creates sculptures, built out of paper and painted with watercolors.

The relationship between the industrially fabricated and the hand-made object interest her. In most cases the artist chooses ordinary household elements, such as chewing gum, paper towels and measuring tapes to produce objects that are made out of fragile materials such as paper, glue and cardboard.

The process of imitating industrially created objects manually, on a different scale brings into question the original meaning of the object itself.

If industrial production means fast duplication of an object, the works Schmidt makes slow down the perception of time.

Betty Simonides (Hindeloopen/the Netherlands)

The concept of a flat plane is the starting-point for the work of Betty Simonides work.

The artist applies paint on a surface or something that is associated with it according to particular arrangements. The usage of different colors and materials defines the particular palette.

This process of committing to certain strategies is what makes the work.

Repetitive action using various formats of flat surfaces and quantities of paint allows the viewer to perceive the work within a range of diverse characteristics.

Questioning where a support can possibly be found and if it's necessary to apply paint on it does not limit the research method to the surface alone. Space can be a second dimension for experimentation. Thus Simonides plays with elements which refer to painting: color, material, suggestion, illusion and perspective.

Color manifests itself as an autonomous object trying to relate to something such as a canvas.